A MAN carrying a cup of coffee walks over to the sofa, sits down, hits a button on a laptop on the coffee table and picks up a piece of paper. A door opens and an INTRUDER, visible only from the legs downwards and wearing black boots with rubber soles, steps through the doorway. The MAN looks behind him.

MAN: Barb, that you?

The MAN goes back to his work. The INTRUDER, who is holding a knife and is still visible only from the legs downwards, approaches. The MAN turns off music that was playing and gets up to close an open window. He sits back down on the sofa and continues to work. Something grabs him from behind and he goes flying with a yell into a framed picture on the wall. The glass shatters and he falls to the ground. The INTRUDER swings the knife at the MAN, he screams and blood splatters over his face. The INTRUDER continues to use the knife on the MAN as he screams, then rips open the MAN’s shirt and cuts him repeatedly. The INTRUDER’s face is indistinct. We see that a large design has been carved into the MAN’s chest. The camera pans out and we see that the MAN is dead and that his hands and feet have been cut off.

SUPERNATURAL (Title Card)

ACT ONE

EXT. ROAD – NIGHT

A car is being driven down the road. DEAN is asleep in the passenger seat and SAM is driving. SAM sighs. DEAN wakes.

SAM: Morning.

DEAN: Hey.

DEAN takes a flask out of his jacket, shakes it and unscrews the lid.

SAM: Is that Bobby’s?

DEAN takes a drink.

SAM: I didn’t know you kept that.

DEAN: Yeah, mine sprung a leak.

SAM: You know, most people would just carry a – a photo or something for a momento.

SAM: Grown men thrown so hard they went through walls. Did you – did you even read the article?

SAM pushes a newspaper at DEAN.

DEAN: No, I was napping.

SAM: Well, anyway, what else you got going on? Dick Roman’s a dead end for now, you might as well –

DEAN: Stay busy.

SAM: Exactly.

DEAN: Yeah.

INT. POLICE MORGUE – NIGHT

A FORENSICS OFFICER wheels the MAN from the beginning of the episode out of a locker. DEAN and SAM are wearing their FBI suits. DEAN, SAM and the FORENSICS OFFICER lean over the body.

FORENSICS OFFICER: The latest, but probably not the last. You guys always work this late?

DEAN: Ugh, hours suck. But, uh, great benefits package.

FORENSICS OFFICER: Oh yeah?

DEAN: Yeah. 10% co-pay on all drugs.

FORENSICS OFFICER: Seriously?

DEAN smiles and nods.

FORENSICS OFFICER: Oh, but just generic, right?

DEAN: No, no. Name brands are cool.

FORENSICS OFFICER: Oh.

DEAN: Yeah.

SAM clears his throat.

SAM: So. What’s our boy here weigh?

FORENSICS OFFICER: Uh. A buck ninety. Thrown against a wall so hard it buckled. Based on the blood flow at the crime scene, the hands and feet were cut off while he was still alive, just like the others. The killer wanted him to suffer.

DEAN: And all vics are male, right, with the same kind of, uh, artwork as this?

FORENSICS OFFICER: Yeah. Identical.

SAM takes a picture of the design carved in the MAN’s chest on his phone.

SAM: So, uh, DNA left at any of the scenes?

FORENSICS OFFICER: All of them. One before this, the guy bit the attacker. Still had a chunk of flesh in his teeth when he came in. That’s about as good as it gets.

DEAN: Right.

SAM: So, we have a match?

FORENSICS OFFICER: We do not.

The FORENSICS OFFICER hits a button on a computer keyboard and a window that says “Sample Rejected. No Known Genetic Markers” pops up on the screen.

SAM and DEAN walk towards the exit doors of the building, which say “SEATTLE POLICE FORENSICS”. SAM is looking at his phone.

DEAN: I’ll admit it could be in the general vicinity...

They exit the building.

EXT. SEATTLE POLICE BUILDING – NIGHT

DEAN: ...of the ballpark of our kind of thing.

SAM: Yeah, uh, “didn’t match anything human” usually seals the deal for me. I don’t know, I’ve never seen this symbol before.

SAM touches DEAN on the shoulder and DEAN turns to look at him.

SAM: Let’s get a bite to eat, go back to the motel, haul out the laptop.

DEAN: That’s a great idea. Actually, that’s a brilliant idea. Here’s my counter. You do that, I’ll go undercover, go mingle amongst the locals and see, uh, what kind of clues bubble to the surface.

SAM: You’re going to a bar.

DEAN: Wow. If you want to oversimplify it.

DEAN walks off.

INT. COBALT ROOM BAR – NIGHT

DEAN and a WOMAN are at a table. They are almost finished with their drinks.

WOMAN: Uh, dinner and a movie, which sounded fine, except the movie was “Human Centipede.”

DEAN laughs.

DEAN: What, so wait, uh, so you had a problem with that?

WOMAN: The date from hell.

DEAN: Dating, right? Ugh.

WOMAN: But what’s the option? I don’t see settling down any time soon.

DEAN: Well, that’s something you don’t hear every day.

WOMAN: [Laughs] Oh, what, are you ready for the big commit?

DEAN: Me? [chuckles] Not exactly.

WOMAN: Nice suit, by the way. Guys don’t dress up much. I like it.

DEAN: Yeah, well, it’s, uh, a conservative line of work.

DEAN finishes his whiskey. A waitress has given the WOMAN a new cocktail.

WOMAN: What line is that?

DEAN: Investment banking.

The waitress gives DEAN another whiskey.

WOMAN: Oh, God.

DEAN: [to waitress] Thanks.

WOMAN: I hear the hours are ridic.

DEAN: Yeah.

WOMAN: But there’s money to be made.

DEAN: I’ve had a fortunate year.

WOMAN: Well.

The WOMAN raises her glass in a toast.

WOMAN: May you have many more.

They clink glasses.

DEAN: Arigatou.

WOMAN: You speak Japanese?

DEAN: Ah, enough to get by.

WOMAN: Well, look at you.

DEAN: Yeah, look at me.

DEAN looks down at the table, then back at the WOMAN.

WOMAN: You want to move this conversation elsewhere?

INT. WOMAN’S HOUSE – NIGHT

DEAN and the WOMAN enter while kissing. The WOMAN helps DEAN out of his jacket as they continue to kiss.

INT. MAN’S APARTMENT – NIGHT

A MAN is watching television while eating popcorn and drinking a beer. There is a knock at the door.

INT. WOMAN’S HOUSE – NIGHT

DEAN and the WOMAN are still kissing. The WOMAN pulls off DEAN’s tie.

INT. MAN’S APARTMENT – NIGHT

The MAN goes to the door and looks through the peephole.

INT. WOMAN’S HOUSE – NIGHT

DEAN and the WOMAN are still kissing. The WOMAN undoes buttons on DEAN’s shirt.

INT. MAN’S APARTMENT – NIGHT

The MAN opens the door with a smile.

MAN: Hi. What can I do for you?

INT. WOMAN’S HOUSE – NIGHT

The WOMAN pushes DEAN backwards.

INT. MAN’S APARTMENT – NIGHT

The MAN goes flying across the room into a wall.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN takes off her shirt and kisses DEAN, who is backed up against French doors. She pushes his shirt off his shoulders and pushes him backwards through the doors into the bedroom. She takes off her pants and DEAN pushes his down. DEAN falls backwards onto the bed with a grunt. The WOMAN gets on top of DEAN, interlocks their fingers on one hand, then kisses him. DEAN rolls them over.

INT. MAN’S APARTMENT – NIGHT

The MAN rolls over on the floor. There is blood on his back, front, face and the floor.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN rolls herself and DEAN over so that she is again on top.

INT. MAN’S APARTMENT – NIGHT

We see a close-up of a knife being lifted. The MAN lifts his head from the floor and raises an arm. There is a slashing sound and the sound of flesh tearing. The MAN screams and his face is splattered with blood.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN is straddling DEAN and they are kissing. He lifts up his head to meet her and then lays his head back on the pillow. She sits back and tosses her hair, then slides her bra straps off her shoulders.

INT. MAN’S APARTMENT – NIGHT

Someone takes photographs of the design carved into the MAN’s chest.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN unhooks and removes her bra. DEAN slides his hands up her body and she leans down to kiss him.

INT. MAN’S APARTMENT – NIGHT

Someone takes photographs of the MAN’s blood-splattered face.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN and DEAN kiss.

INT. MAN’S APARTMENT – NIGHT

Someone takes photographs of the stump at the end of one of the MAN’s arms.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN and DEAN kiss.

INT. MAN’S APARTMENT – NIGHT

Someone takes photographs of the blood-splattered crime scene, the MAN’s body, and the stump of one of his legs.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN moves on top of DEAN in bed.

INT. MAN’S APARTMENT – NIGHT

We see more photographs from the crime scene, ending with the design carved into the MAN’s chest.

INT. WOMAN’S HOUSE – NIGHT

The WOMAN sits up. DEAN lies on his back in the bed with his eyes closed, then opens them and looks at the ceiling. He exhales audibly.

EXT. STREET OUTSIDE APARTMENT BUILDINGS – DAY

A police officer is making notes next to a police car. SAM and DEAN are walking across the street.

DEAN: Ugh.

SAM: You look like crap.

DEAN: Yeah, well, I feel worse than I look. I do recommend the Cobalt Room, by the way. Awesome night. Although I think I'm getting too old for this.

SAM chuckles.

DEAN: Did you, uh, figure out that symbol?

SAM: No. Um, we're gonna need an expert.

DEAN: Expert? Our expert's dead.

SAM and DEAN hold up their FBI badges to a POLICE OFFICER standing outside an apartment building.

POLICE OFFICER: All right.

INT. MAN’S APARTMENT – DAY

The MAN’s body is on the floor. The FORENSICS OFFICER and a WOMAN OFFICER are crouched next to it.

FORENSICS OFFICER: Comes off the wall down here...

DEAN and SAM enter and look around at the blood-splattered room.

DEAN: Well, nice decor. Very early slaughterhouse.

FORENSICS OFFICER: [to the WOMAN OFFICER] FBI. [to SAM and DEAN] Guys, this is Charlene Penn. She's the lead on the case.

CHARLENE: More of the same. Uh, no forced entry. Thrown across the room. Made to suffer. Both hands and feet cut off.

SAM: Same symbol in the chest.

FORENSICS OFFICER: Mm. Whoever the killer is, the guy's a monster.

CHARLENE: Excuse me.

DEAN: This guy's just like the last one. Early 30s, decent-looking?

FORENSICS OFFICER: Yeah. Just like the first three, you know? Fairly successful, no known enemies.

DEAN: Hmm.

FORENSICS OFFICER: Here.

The FORENSICS OFFICER points towards the kitchen and DEAN follows him. SAM walks to the front door, where a POLICE OFFICER is speaking to a NEIGHBOR.

SAM: [to the POLICE OFFICER] Excuse me. I got it. [to the NEIGHBOR] How can I help you?

NEIGHBOR: I was just trying to find out what happened. Jerry was a friend.

SAM: I'm very sorry. Jerry was killed sometime last night. Do you live nearby?

NEIGHBOR: Yeah. Two doors down.

SAM: You, uh, you know anyone who would want to harm Jerry?

NEIGHBOR: No. He was the nicest guy in the world. Well, his – his wife wasn't real happy with him.

SAM: Why's that?

NEIGHBOR: A few nights ago, he has a little one-night fling. Ann found out, took off. But... she would never do anything like...

SAM: Yeah. Of course. Thanks.

The NEIGHBOR leaves. DEAN and SAM duck under a police line.

DEAN: Who was that?

SAM: Neighbor. Said the vic's wife caught him cheating.

DEAN: Yeah, but we're not thinking it's the wife.

SAM: Not unless she benches 350 and did the other guys as a warm-up.

DEAN reaches for his flask.

DEAN: Shoot. I left Bobby's flask over at Lydia's.

SAM: Lydia?

DEAN: My workout partner from last night.

DEAN takes out his cell phone.

DEAN: Now I've got to go get it.

SAM: So, not only do you know her name, you're actually gonna call her?

DEAN: Bite me.

SAM: Oh, how sweet – she gave you her number.

DEAN: They always give you their number.

INT. LYDIA’S HOUSE – DAY

LYDIA (on phone): Hello?

DEAN (on phone, V-O): Lydia.

INT. MAN’S APARTMENT – DAY

DEAN (on phone): Hey, it's, uh, Dean from last night.

INT. LYDIA’S HOUSE – DAY

LYDIA (on phone): Uh-huh.

DEAN (on phone, V-O): Uh, listen, I think I left something over at your...

INT. MAN’S APARTMENT – DAY

DEAN (on phone): ...place. It was an old flask. It doesn't look like much, but it has sentimental value. So, uh, have you seen it?

INT. LYDIA’S HOUSE – DAY

LYDIA (on phone): No. But if I do, I'll call.

INT. MAN’S APARTMENT – DAY

DEAN (on phone): You want my number?

INT. LYDIA’S HOUSE – DAY

LYDIA (on phone): My cell grabbed it. Uh...Sorry. I gotta go.

INT. MAN’S APARTMENT – DAY

LYDIA (on phone, V-O): Just real busy at the moment.

DEAN (on phone): Oh.

DEAN hears a dial tone as LYDIA hangs up.

DEAN: She's real busy.

SAM smiles.

INT. LYDIA’S HOUSE – DAY

We see that LYDIA is heavily pregnant.

ACT TWO

INT. LARGE ROOM – NIGHT

The room lit by chandeliers and candles. LYDIA, dressed in a white nightgown, is giving birth surrounded by women. A WOMAN in a dark jacket is instructing LYDIA.

WOMAN: Breathe.

LYDIA:

Aah!

WOMAN: Control, Lydia. As in all things.

LYDIA nods and regulates her breathing.

WOMAN: One final push.

LYDIA: Aah!

WOMAN: The pain is an honor.

A baby cries. Another woman hands the baby to LYDIA.

LYDIA: What will we call her?

WOMAN: You'll call her Emma. Next.

EXT. DEPARTMENT OF ANTHROPOLOGY BUILDING – DAY

PROFESSOR (V-O): Fascinating. Truly.

INT. PROFESSOR’S OFFICE – DAY

PROFESSOR: And actually, rather accomplished draftsmanship.

DEAN: Yeah, if you get past the fact that it was carved into a guy's body.

SAM: Professor Morrison, we're hoping you can tell us what the symbol means.

PROFESSOR: Ah, maybe.

SAM: Maybe?

PROFESSOR: It's possible I could, even likely. Is the FBI offering suitable remuneration?

DEAN looks at SAM.

SAM: The respect of a grateful nation.

DEAN: And a good word with the I.R.S.

PROFESSOR: Ah. Well, it appears quite ancient.

DEAN: Well, that narrows it down.

PROFESSOR: A corrupted version of symbology associated with worship. Definitely an obscure regional script. Oh, this will require some research.

SAM: All right. Great. Well, uh, I guess we'll be seeing you tomorrow.

SAM: Who? Lydia? Wait, so some girl's actually dumping you the morning after?

DEAN: I think you're enjoying this a little more than you need to. Screw it. I'm going over there and getting the flask.

DEAN walks off.

EXT. LYDIA’S HOUSE – DAY

DEAN rings the doorbell. LYDIA opens the door.

LYDIA: Don.

DEAN: Dean. I guess you didn't get my messages.

LYDIA: No, I did. I've been busy.

DEAN: Oh. Anyway, I, uh, left that flask over here the other night.

LYDIA: Yes. I found it. It was so beat up and old, I almost tossed it.

DEAN: Yeah, well, guy it belonged to was beat up and old, too. But I was very close with him, and I'd, uh, I'd hate to lose it.

LYDIA: I'll get it for you.

INT. LYDIA’S HOUSE – DAY

DEAN follows LYDIA into the house.

DEAN: So, how you been? Other than "busy."

LYDIA opens a drawer in the main room and takes out the flask. A child perhaps six months old is standing up in a crib in the bedroom.

LYDIA: Just that. Really busy. Here you go.

LYDIA gives the flask to DEAN.

DEAN: Oh, wow. I can see why you're busy. You've been babysitting, huh?

LYDIA: No.

DEAN: Yours?

LYDIA: Uh-huh.

DEAN walks into the bedroom

DEAN: You didn't tell me you had a little girl.

LYDIA: There's probably all kinds of things we didn't tell each other.

DEAN: What's her name?

LYDIA: Emma.

DEAN: Hi, Emma. Your first?

LYDIA: Yes.

DEAN: Well, I hear they grow like weeds.

LYDIA: You have no idea.

DEAN’s phone rings.

DEAN: Oh. Sorry. I got to take this.

DEAN walks into the main room.

DEAN (on phone): Hello.

INT. HOTEL ROOM – DAY

SAM swallows and puts down a cup of coffee.

SAM (on phone): Mm. Hey. Where are you? It's a flask, not the holy grail.

INT. LYDIA’S HOUSE – DAY

DEAN (on phone): Hey, man, I'm a people person, all right? I'm engaging in some social skills.

INT. HOTEL ROOM – DAY

DEAN (on phone, V-O): You get anything out of Morrison?

SAM (on phone): No. Not yet. Look, would you get back here?

INT. LYDIA’S HOUSE – DAY

SAM (on phone, V-O): Uh, we're due at the crime lab.

EMMA: Mom, get me out! [?]

LYDIA: Shh. Just a minute. [?]

SAM (on phone, V-O): Dean?

DEAN (on phone): Hang on.

DEAN lowers the phone and steps closer to the bedroom, where LYDIA is leaning down close to EMMA.

SAM (on phone, V-O): Hey, look, why don't you just...

EMMA: Who's that guy in the other room?

LYDIA: Shh.

EMMA: Who is that?

SAM (on phone, V-O): You there?

LYDIA: Shh! Don't talk. We'll discuss it later.

SAM (on phone, V-O): Hello!

DEAN (on phone): Let me call you back.

DEAN hangs up.

INT. HOTEL ROOM – DAY

SAM sighs, hangs up and grabs his jacket.

INT. POLICE MORGUE – DAY

SAM and the FORENSICS OFFICER are standing on either side of a body that is mostly covered by a sheet. Its severed legs are visible. They flip the sheet over the legs and walk across the room.

FORENSICS OFFICER: So, again, we got a guy weighing about two bills, thrown into a wall so hard, he's got pieces of plaster lodged in his skull.

CHARLENE: What triggered the Feds' involvement in this case? I always think you boys have bigger fish to fry.

SAM: No. Actually, we – we – it’s –

FORENSICS OFFICER: I just figured it was the similarity to the other cold cases? If it's the same killer, then he crossed state lines – that would bring you guys in.

SAM:

Well, that's exactly right. Uh, what he said.

CHARLENE: Yeah. Whatever. You're gonna have to wrap this up. Your case isn't the only one we're working on.

SAM nods and CHARLENE leaves.

FORENSICS OFFICER: You get used to her.

SAM: Uh, so, Eddie, by the way, I didn't bring the cold-case files with me. Is there a chance you have a copy?

EDDIE: Yeah.

SAM: Great.

SAM picks up a receipt in an evidence bag.

SAM: The Cobalt Room.

EDDIE: Mm! Yeah, it's pretty well known. Looking to hook up, it's a pretty good place to go.

SAM: I've heard.

EDDIE: Vic number two was there.

SAM takes a file EDDIE is holding.

EDDIE: And according to his security guard, he left with a hot girl. Two days later, he's an obituary.

SAM is reading the file.

SAM: Same with Jerry Price.

EDDIE: Mm-hmm. And, uh, as far as we can tell, at least a couple of those in there.

SAM: Same thing in Chicago.

EDDIE: Yep. A lot of busted marriages, flings with unknown women, that kind of thing, all just before they got offed.

SAM: Thanks.

EXT. STREET OUTSIDE LYDIA’S HOUSE – DAY

DEAN is watching from his car on a cross street. A car containing three women, one of whom is the WOMAN who instructed LYDIA while she gave birth, pulls up and parks. The driver remains in the car while the other women walk to LYDIA’s door and ring the bell. LYDIA opens the door.

EMMA, looking older than she did in the afternoon, is wearing a white dress. The WOMAN in a black jacket addresses her and other girls.

WOMAN: On this special night, you join an exceptional family. You are ready to take your places alongside us and learn our traditions.

Another woman holds a tray with pieces of flesh out to the first girl in line. Another woman behind her holds a tray with glasses of milk.

WOMAN: This is a tribute to the one who created and protects us.

The women carrying trays move down the line of five girls.

WOMAN: We hunt for her. We kill for her. And now we consume that kill as a symbol of unity with those who have completed their blood missions and furthered the life of the tribe.

EMMA is still holding her piece of flesh. The other girls have all eaten theirs.

WOMAN: Go ahead, Emma. You need to eat.

ACT THREE

INT. UNIVERSITY LECTURE THEATER – DAY

The PROFESSOR is standing at the front of the room next to a projector screen, on which is the carved into the mens’ chests. SAM and DEAN are in seats on opposite sides of the aisle, one row apart.

PROFESSOR: You know, identifying the scroll was no day at the beach. Lesser scholars would have crumbled.

SAM: Professor... the symbol?

PROFESSOR: Yeah. Yeah. It's ancient, regional. Very difficult to identify. But I managed to find a match.

The picture on the projector screen changes to one of an ancient Greek building.

PROFESSOR: It's a variation of a symbol associated with the Greek Pantheon, the temple of the goddess Harmonia. According to myth, the coupling of Harmonia and Ares, the God of war, produced the Amazons.

SAM: The Amazons?

DEAN: Like Wonder Woman?

PROFESSOR: No, like – like a tribe of warriors. They actually existed. The comic books – they're just silly perversions. The symbol –

The screen now shows a symbol of two women kneeling around a large urn, below someone on horseback.

PROFESSOR: I believe it originated with the Amazons. Pictographs meant to pay homage to Harmonia – occult talismans, if you will. They had an exclusively female culture. No use for men whatsoever, except procreation.

SAM: All the vics were male.

PROFESSOR: So you said – with this symbol carved in their chests.

The screen now shows a diagram of two composite parts of the symbol that was carved into the men’s chests, added together to give the symbol itself.

SAM: And their hands and feet cut off.

PROFESSOR: Now, that is interesting.

DEAN: Got our attention.

The screen now shows naked women hunters with crossbows pointing arrows at men hung upside down over a fire.

PROFESSOR: After they were impregnated, they killed the male – first cutting off certain body parts.

INT. POLICE STATION – DAY

CHARLENE (on phone): I couldn't check their I.D.s because everything they have is fake. I've been digging for hours. And one thing's for sure – they ain't FBI.

INT. AMAZON LEADER’S OFFICE – DAY

AMAZON LEADER (WOMAN in black jacket) (on phone): And who are they?

CHARLENE (on phone, V-O): They're after us, is what they are.

INT. POLICE STATION – DAY

SAM and DEAN’s pictures are on CHARLENE’s computer screen, overlaying a map of the US with several locations marked.

AMAZON LEADER (on phone): The one is already scheduled to be taken care of. We'll just simply add the other one to the agenda.

INT. HOTEL ROOM – DAY

DEAN is looking through boxes of books.

DEAN: I know Bobby's got a Grecian encyclopedia of weird in here. I saw it last time I was looking through this stupid... Would it kill him to have a system?

SAM is at the table using the laptop and drinking a cup of coffee.

SAM: He has a system. His files are set up like his brain.

DEAN takes his flask out of his back pocket and drinks from it.

DEAN: You got anything?

SAM: Uh, yeah.

SAM presses a button and brings up a website titled “Greek Mythology – The Amazons” from a search engine.

SAM: There's this whole crazy side to Amazon lore that Professor Morrison didn't even mention.

DEAN: That's 'cause he doesn't believe in it, which is a real handicap when you're trying to deal with it.

DEAN sits down on a bed and opens the book he’s holding.

SAM: [after a pause] Right. Um, apparently, there was this long, bloody war. The Amazon population was decimated, so they made a bargain with Harmonia to replenish their ranks and make them stronger.

DEAN: Well, I'd say throwing grown men through walls was stronger.

SAM: Yeah. Well, basically, they became more than human. Harmonia turned them into monsters.

DEAN: Can you kill them like humans? Or is there some kind of trick?

SAM: Uh, doesn't say. No idea. I guess it could go either way.

DEAN: Well, that's helpful. What else?

SAM: The lore says they reproduced quickly – as in, after mating, they gave birth within 36 hours.

DEAN stops turning the pages of the book and listens intently.

SAM: The babies grew incredibly fast, then the aging process became normal. Which is one way to make an army, I guess. The mating cycle is every two years. They send out all the women who have reached child-bearing age.

DEAN: Which lines up, 'cause this happens every couple of years in different towns, right?

SAM: Yeah. And we know for sure that at least some of the vics hooked up with strange women days before being killed Amazon style.

DEAN closes his book and puts it down.

DEAN: Hooked up in the same bar I met Lydia, right?

SAM: Yeah.

DEAN: And then suddenly...

DEAN gets up and walks towards SAM.

DEAN: ...she's got a little baby in like fruit-fly time. That baby turns into a little girl just as fast.

The AMAZON LEADER is standing in front of a cauldron in which a flame is burning. She is wearing a necklace with the design that was carved into the men’s chests.

AMAZON LEADER: We are so pleased with your progress.

Five girls, now teenagers, are lined up in front of her.

AMAZON LEADER: You are absorbing the traditions of our mothers...

The AMAZON LEADER takes a branding iron out of the cauldron.

AMAZON LEADER: ...and you are close to fulfilling your tribal destiny, and taking your place alongside your sisters. Today, you are a warrior.

The AMAZON LEADER presses the brand to the inside of the first girl’s right wrist.

AMAZON LEADER: Though you may walk among others, your heart is only with the tribe.

The AMAZON LEADER brands the second girl.

AMAZON LEADER: Soon, you will take the final, glorious step into adulthood.

The brand is the same design that was carved into the men’s chests.

AMAZON LEADER: Today, you will learn how to endure pain and how to inflict it.

The AMAZON LEADER brands the third girl, who makes a small noise.

AMAZON LEADER: Fight it, Emma. As with all you do, courage is everything.

EXT. HOTEL – NIGHT

INT. HOTEL ROOM – NIGHT

DEAN and SAM are standing next to a bed covered with research.

DEAN: Looking through Bobby's files is like dumpster diving.

SAM: Yeah, tell me about it. So, it makes sense why, uh, why...

DEAN puts a picture of part of a Greek building down on a large leather-bound book on the bed, on top of a picture of an Amazon woman on horseback.

SAM: ... the Amazons all want to hook up with decent-looking, successful guys.

DEAN: Oh, they're picky about the gene pool?

SAM pins a newspaper article to a wall alongside other research.

SAM: Right. So...

SAM turns to face DEAN.

SAM: ...what was Lydia doing with you?

DEAN: Well, she may or may not have thought I was a rich investment banker.

DEAN takes a drink from his flask. SAM spreads his arms in mild exasperation, rubs a hand over his face and turns back to the wall. DEAN looks down at the research on the bed. The pictures of the Greek building and Amazon woman have moved, and the only thing now on top of the leather-bound book is a piece of parchment with writing.

DEAN: Sam.

SAM: Yeah.

DEAN: These papers just moved.

SAM: What?

DEAN: I didn't touch them.

SAM gets out the EMF reader, which immediately starts to flash red and make noise.

SAM: It's all over the place.

SAM walks over to the bed.

SAM: Redline. Redline.

SAM walks towards the window.

SAM: Oh, and... power lines by the open window, where there's a breeze...

SAM turns off the EMF reader.

SAM: ...that could have moved the papers.

DEAN: Did you feel a breeze?

SAM: It doesn't matter, Dean. The readings are useless.

DEAN: Hey. Maybe, uh...

DEAN holds up his flask.

SAM: We burned him, Dean.

DEAN: So what?

SAM: So, what are you suggesting?

DEAN: I don't know. What are you?

SAM: Concentrate on something else.

DEAN: Why?

SAM: Because it's [raising his voice and stepping close to DEAN] not Bobby!

DEAN is using the laptop. Someone knocks three times on the door. DEAN closes the laptop, and picks up and cocks his gun. Someone knocks on the door three times again. After a moment of indecision, DEAN removes the safety chain and opens the door. EMMA is outside.

EMMA: Hi. You don't know me, but my name is Emma. I need your help. I think I'm in trouble, and you're the only person I can trust.

DEAN: Why?

EMMA: Because you're my father.

ACT FOUR

INT. HOTEL ROOM – NIGHT

DEAN is still holding the door open and EMMA is standing outside.

DEAN: How'd you find me?

EMMA: They've been watching you, ever since Mom got pregnant.

DEAN: Well, if you're such a prisoner, you mind telling me how you escaped?

EMMA: I waited until lights out. The women who watch over us change shifts a little after 10:00.

DEAN: Uh-huh. And you left because...?

EMMA: They stick you in there, and you trust them. It's all you know. And you don't question what they want you to do – terrible things. That's why I had to leave. They tortured me.

EMMA holds up her branded wrist.

EMMA: They told me I had to endure pain so I could be strong like them. But I don't want to be like them.

DEAN: Okay. Come on in. EMMA enters the room. DEAN closes the door, replaces the security chain and puts his gun in the back of his jeans.

EMMA: How would I know? Three days ago, I wasn't even alive. Now here I am. My mother threw me into that place. And my father... well... You get this is my last chance to have anything normal ever, right?

INT. PROFESSOR MORRISON’S OFFICE – NIGHT

The PROFESSOR is reading the parchment. SAM is sitting on the other side of his desk.

PROFESSOR: It's fascinating.

SAM: What's it say?

PROFESSOR: Oh, I haven't gotten there yet. The paper is handmade. A cellulose, rather like papyrus, which would explain its durability.

SAM: Professor –

PROFESSOR: Wherever did you get it?

SAM: Uh... a – a crazy, drunk, old genius.

PROFESSOR: Yeah. They always have the good stuff. Well, it's in Greek.

SAM: Yeah, yeah. I-I know that.

PROFESSOR: Not a common dialect. My God, what is it with you and Amazons?

SAM: Professor, it's important.

PROFESSOR: At 11:30 at night, it better be. Oh, here's a new twist. It repeats the conventional lore. Amazon warriors mate with males. The males are murdered. Yada, yada. But according to this... It's not the women who do the killing. Instead, a ritual of initiation requires that the child born of the mating process must kill her own father.

SAM: What?

INT. HOTEL ROOM – NIGHT

DEAN is standing at the window. He walks across the room in front of EMMA.

DEAN: You look exhausted.

EMMA: And starving. It's been a tough sweet 16. So you believe me?

DEAN crosses him arms and nods.

EMMA: You'll help me?

DEAN: If you really want help.

INT. UNIVERSITY ANTHROPOLOGY BUILDING HALLWAY – NIGHT

SAM is walking fast while looking at his phone. CHARLENE PENN steps out in front of him.

SAM: Detective.

CHARLENE: Agent. You're here late.

SAM: Yeah. Listen, could we talk in the morning?

SAM starts to walk past CHARLENE, but she grabs his arm.

CHARLENE: What's your hurry...

SAM looks down and sees the Amazon brand on CHARLENE’s wrist.

CHARLENE: ...Sam? Sam Winchester. Let's see. I could run you in for impersonating a federal agent.

The skin around CHARLENE’s eyes turns red. She grabs SAM and hurls him down a short flight of stairs and into the exit doors. SAM lies unmoving on the ground, facing the doors. CHARLENE holds a knife that had been concealed in her sleeve. As she raises the knife, SAM turns over and shoots her in the chest. SAM gets up with a groan. CHARLENE is lying on her back, dead. SAM picks up his phone from the stairs. The screen is smashed.

INT. HOTEL ROOM – NIGHT

DEAN is still standing in front of EMMA with his arms crossed.

DEAN: Well, now, what happens when they find out you're missing?

EMMA: They may have already found out. And they'll hunt me down.

DEAN nods and walks across the room.

EMMA: Look, I know this is gonna be hard, but if I'm gonna get out, I have to do it now.

DEAN opens the refrigerator.

DEAN: We got cheese and a leftover burrito.

EMMA stands up.

EMMA: Doesn't make a difference.

A knife drops into EMMA’s hand from her sleeve. DEAN closes the refrigerator and points his gun at EMMA.

DEAN: You were asking if I believed you.

CAR – NIGHT

SAM is driving fast. He swerves around a car in front of him and the driver honks the horn.

INT. HOTEL ROOM – NIGHT

EMMA: I was told you'd be a challenge.

DEAN: I figured you'd chat me up... try and catch me off guard. Almost worked. I was expecting your mother.

CAR – NIGHT

SAM runs a red light.

INT. HOTEL ROOM – NIGHT

EMMA: It's not her place. I have to kill you.

DEAN: Is that what they told you?

EMMA: It's what I am.

DEAN: Well, then, I should just kill you right now.

EMMA: Sure. But you could have done that 30 seconds ago.

CAR – NIGHT

SAM rounds the corner in front of the hotel, stops the car and runs into the building.

INT. HOTEL – NIGHT

SAM runs up the stairs.

INT. HOTEL ROOM – NIGHT

EMMA: It's weirdly hard, isn't it? It is for me.

DEAN: Knock it off.

EMMA: How could it not be? You're my father.

DEAN: Hey! We're not gonna do that.

EMMA: But it's true.

INT. HOTEL HALLWAY OUTSIDE SAM AND DEAN’S ROOM – NIGHT

SAM approaches the room.

EMMA (V-O): You're the reason that we're standing here.

SAM leans close to the door.

INT. HOTEL ROOM – NIGHT

EMMA: I wouldn't be here if it weren't for you. So now someone has to kill someone.

SAM opens the door a fraction and sees DEAN with his gun pointed at EMMA.

EMMA: You know what? So far, my childhood's been kind of disappointing.

DEAN: You haven't killed anybody yet, Emma. Walk away.

INT. HOTEL HALLWAY – NIGHT

SAM is leaning against the door.

DEAN (V-O): Right now. I won't go after you.

INT. HOTEL ROOM – NIGHT

EMMA: I can't. I don't have a choice.

SAM bursts into the room, gun drawn. EMMA spins around to face him. The skin around her eyes has turned red. EMMA turns back to DEAN, her eyes normal.

EMMA: Please don't let him hurt me.

EMMA turns back to SAM, who shoots her in the chest. She gasps and falls to the ground. SAM lowers his gun. EMMA is dead. DEAN and SAM look at each other. DEAN nods slightly and looks down.

EXT. ALLEYWAY OUTSIDE AMAZON BUILDING – NIGHT

DEAN and SAM drive up and get out of the car.

INT. AMAZON BUILDING – NIGHT

DEAN and SAM walk up to the front door, which is ajar. DEAN pushes the door the rest of the way open.

DEAN: Here's the mother ship.

SAM cocks his gun.

SAM: Let's get this done.

SAM follows DEAN into the building. It is deserted.

DEAN: They're gone.

ACT FIVE

CAR – NIGHT

SAM is driving with a fixed expression.

DEAN: Hey, you know what? I don't like it, either. I wanted to torch ’em just as much as you. Yeah, but, hey... next time they surface, we'll be ready. If we live that long.

SAM doesn’t reply.

DEAN: All right, fine. Just sit there and be pissed.

SAM: What did you say to me... when I was the one who choked? What did you say about Amy? "You kill the monster!"

DEAN: I was going to!

SAM: Oh, the hell you were! You think I'm an idiot?

DEAN: What, you think I am?

SAM: Dean, you were gonna let her walk!

DEAN: No, I wasn't. That's ridiculous!

SAM: Look, man, she was not yours. Not really.

DEAN: Actually, she, uh, she was, really. She just also happened to be a crazy man-killing monster. But, uh, hey.

SAM: You know what? Bobby was right. Your head's not in it, man. When Cas died, you were wobbly, but now...

DEAN: Now what? Oh, what, you're dealing with it so perfect? Yeah, news flash, pal – you're just as screwed up as I am! You're just... bigger.

SAM: What?!

DEAN: I don't know.

SAM: Look... Dean, the thing is, tonight... It almost got you killed. Now, I don't care how you deal. I really, really don't. But just don't – don't get killed.

DEAN: I'll do what I can.

SAM: Well, what's that supposed to mean?

DEAN: It means I'll do what I can. All right? You can shut up about it.